Uthishta, a voluntary organization based in Bengaluru recently organized
'Kathakali Sandhya', an evening of Kathakali. The program featured
Muringoor Sankaran Potty's 'Kuchela Vrutham' and 'Dussasana Nigraham,'
the latter being two selected scenes from the play 'Duryodhana Vadham'
by Vayaskara Aryan Narayana Mooss. Dr. K. Radhakrishnan, the chairman of
ISRO, inaugurated the event and shared his thoughts on the art form as
well as the artistes who were going to perform that day.

Margi Vijayakumar, the present principal of Margi, performed the role of
Kuchela in 'Kuchela Vrutham'. Though he is an actor with almost three
decades of experience, it was his first on stage as Kuchela. The play
started with Kuchela's walk to Dwaraka to meet Sri Krishna. Upon
reaching Dwaraka, he finds Sri Krishna's childhood scenes being painted
on the walls. If it is something which every actor used to perform, a
welcome addition was, Kuchela finds himself in one of the paintings
where he is portrayed along with Sri Krishna taking their lessons at
Sandeepani's ashram. As he reaches the seven-storey palace of Sri
Krishna, he gets a view of Krishna on the top floor of the palace.

The role of Sri Krishna was done by none other than Kalamandalam Gopi, who is considered as an actor made solely for the pacha
characters. Krishna recognizes his childhood friend from afar and runs
down to receive him. After offering necessary pooja, Krishna remembers
their good old days at Sandeepani's ashram in the padam "Kalayami Sumathe!" The famous padam of Kuchela, "Ajithahare Jaya..."
set in Shree raga followed. Margi Vijayakumar as Kuchela, took his time
to act each line, providing an opportunity for the singers Pathiyoor
Sankarankutty and Kottakal Madhu to excel. Both of them made good use of
the opportunity and their rendering here turned out to be one of their
best in recent times.

The rasikas always enjoy the duo combination of Kalamandalam Gopi and
Margi Vijayakumar, be it Nala and Damayanthi, Kacha and Devayani, Bhima
and Panchali, Rukmangada and Mohini or Karna and Kunthi. Their
performance here proved that Sri Krishna and Kuchela also can be added
to this list of their best combinations. In one instance, Margi
Vijayakumar was about to act something which did not suit the character
and the experienced Gopi saved the scene by wisely stopping him, making
it less apparent to the audience. This kind of a rapport between the two
actors was evident throughout the act and it made the performance even
more enjoyable to the audience.

At the end of the padams, Krishna says he is feeling hungry and forcibly
grabs the flattened rice that Kuchela brought for him and eats a couple
of mouthfuls. As Krishna ventures to have a third handful of the rice
flakes, Rukmini interrupts and reminds him that if he takes it one more
time, she will become a servant to Kuchela's wife. Rukmini may not be a
role befitting an actor of Kalamandalam Shanmukha Das's caliber. But,
through his performance, he proved that even the role of Rukmini is good
enough for a talented actor to make an impression. His interactions
between the co-actors within the limits of his character, added more
grace to the whole act.

Raudra Bhima & Dussasana

The second act 'Dussasana Nigraham' saw youngsters like Kalamandalam
Arun Warrier, Kalamandalam Hari R Nair and Kalamandalam Neeraj putting
up an energized performance. Kalamandalam Shanmukha Das appeared again
in the role of Panchali and enacted well the padam "Paripahimam Hare!"
in Navarasa raga. Arun Warrier's Sri Krishna, with apt reactions to the
worries of Panchali, was performed well in the short span of time which
was available for him. Kalamandalam Hari R Nair's enacting of Raudra
Bhima was the highlight of the play. He was full of energy and excelled
in the role as one would expect from a talented actor like him. The
actor who got the role of Dussasana did not have much to do in these
last scenes. However, Neeraj tried his best to make his presence felt.

One cannot forget the efforts of the percussionists, Kalamandalam
Krishnadas and Kalanilayam Manoj, who provided ample support to the
actors in chenda and maddalam. When Vijayakumar acted the part “Vijayasarathe!” Krishnadas produced the sound of the moving chariot in chenda to the delight of the audience. The work of chutty
by Kalanilayam Saji and Erur Manoj was good, except that the use of two
black strips for Raudra Bhima could have been avoided as it would only
reduce the desired effect. Pallippuram Unnikrishnan handled the costumes
provided by Sandarsan Kaliyogam. The program was presented by
Kaliyarangu.

In limited time Kathakali performances, we often see actors doing it in
fast forward mode, especially when the organizers include more scenes in
a short time span. But here, even though the time was limited, the two
plays were wisely chosen, providing enough time for the artistes to
present them properly. Credit goes to the organizers for this thoughtful
decision. Also they deserve appreciation for arranging good sound,
light and stage facilities which is often neglected by the regular
Kathakali organizers even in Kerala.

Hareesh N Nampoothiri is a visual design consultant by profession and
a lover of classical art forms. Being an ardent follower of Kathakali,
he conceptualized and directed a documentary on Kathakali titled
'Thouryathrikam', which introduces the nuances of Kathakali to the
common man. Writing and photography are his other passions.